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I think this book might be right on target. It's a slim book with a lot of ideas. I wish it was longer, but it's very good.
Book Review: Warren Nunes Jazz Guitar Series: The Blues by Warren Nunes & Jerry Snyder
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06-04-2024 01:24 PM
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I've never even heard of this book, and signed by the master!
Originally Posted by JazzPadd

I see that it is out of print, but free copies of it can be found online, I will post one (I can do that because it is out of print).
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Copyright doesn't expire once a book is out of print.
Originally Posted by Mick-7
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Well kind of... your advice is getting better, just as your playing is getting better, really.
Originally Posted by Bobby Timmons
Your kind of still in that Vanilla mode... maybe start listening to players like Johnny Griffin, here's a version of Monk with Griffin playing Misterioso.... yes he can cover all the standard embellishment BS... but he also embellishes the changes... he actually plays chord patterns while soloing...great way to help get out of the vanilla ornament trap...
What are you doing to get your chops up...I know you have a bad ass teacher, he must have you doing something.
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Tony was bad ass. He taught me everything I needed to play at an advanced level. I quit with him last November. I sold my digital organ rig because it was too synthetic. Just doing piano now and his teaching all transferred over. For chops I'm focusing on rhythm and time because I'm happy with my approach and content. But that can obviously be improved as I go on too. Topics I'm working on are my interval sequences and being able to execute those in the different scales I use. I like shifting pentatonic, or shifting anything really, for outside ideas.
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I see that you are correct, the copyright is still in effect unless the author has been deceased for at least 70 years, I hadn't given it much thought.
Originally Posted by jazzshrink
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Some good references there.
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thanks... yea the sequencing approach is great for developing two part or compound line soloing. Even call and answer thing. I use harmonic approach with sequencing licks. Kind of like playing a like up a 3rd or even functionallyl
Originally Posted by Bobby Timmons
Play a line that implies the target or Tonic, and then play the same line on the implied IV chord or the V chord.
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I hear what you're saying. The top pro players don't only play the vanilla changes when soloing, they have extra stuff going on harmonically to make it interesting. But every player is different and they'll go about it different ways. My all time favorite player for adding chromaticism, and just all time favorite player, is Monk. But I try to listen to different players whose approach I also like such as Herbie.
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Yea... I remember that record... the 80's.
So I get more of your playing now... Monk. You did take lessons from Monaco... he's from a different world.
Is that why you stopped the lessons... I need to also say... I generally hate it when Monk tunes are called. Generally I still play them at least a few gigs a week, because They are popular with some audiences...
I generally change their feels and .... expand the harmony. Not too much, need to keep the audiences happy.
Play on
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Yep. Good movie.
Originally Posted by Reg
Yeah he's my biggest influence. I purposely try to not overdo it with copying him.So I get more of your playing now... Monk.
He is. He's actually kind of vanilla but he's so tasteful that it sounds great. His blues chops are pretty heavy too tho.You did take lessons from Monaco... he's from a different world.
We'd covered everything and I understood it but just had to work out the technical skills. I decided to go back to piano because I think I sound better on it. No big deal because all his teaching transferred over.Is that why you stopped the lessons...
Why do you hate Monk tunes? To me, he can do no wrong. I think his tunes are great and I think his sense of harmony is some of the greatest in all of jazz. He never soloed with a smooth 8th note feel tho. He has other weaknesses related to rhythm although could bust some pretty melodic or rhythmic stuff at times.I need to also say... I generally hate it when Monk tunes are called. Generally I still play them at least a few gigs a week, because They are popular with some audiences... I generally change their feels and .... expand the harmony. Not too much, need to keep the audiences happy.
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I think I always ran away from monk tunes because they’re hard. I play bebop heads every single day when I do some of my single line technique stuff and that just makes tons of sense and seems logical.
Originally Posted by Bobby Timmons
Monk stuff is just as hard and takes just as much attention, but it’s all in the harmony and I don’t think I’ve ever quite gotten a handle on how to go about the challenge. In the two or three I feel like I’ve gotten a decent handle on, it’s always been these little inroads and common threads I’ve found deep in the upper structures. But man it’s hard work to get in there like that.
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Yep.
Generally, I don't think I have any business playing Monk's music.
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It comes naturally to me now. When I was learning back in the 00s, I spent a lot of time transcribing and with the Monk fake book. It was hard to learn the idiom, but when I got it, it took and made sense. What I'll say is if BH is diminished, Monk is whole tone.
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General comping vocab - check out Randy Vincent’s ‘the Guitarists Introduction to Jazz.’
Sent from my iPhone using Tapatalk
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You're fine to share it. Just pretend you're a library.
Originally Posted by Mick-7



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